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Resounding TranscendenceTransitions in Music, Religion, and Ritual$
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Jeffers Engelhardt and Philip Bohlman

Print publication date: 2016

Print ISBN-13: 9780199737642

Published to Oxford Scholarship Online: April 2016

DOI: 10.1093/acprof:oso/9780199737642.001.0001

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PRINTED FROM OXFORD SCHOLARSHIP ONLINE (oxford.universitypressscholarship.com). (c) Copyright Oxford University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in OSO for personal use. date: 17 June 2021

Resounding Transcendence—An Introduction

Resounding Transcendence—An Introduction

Chapter:
(p.1) Resounding Transcendence—An Introduction
Source:
Resounding Transcendence
Author(s):

Philip V. Bohlman

Jeffers Engelhardt

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199737642.003.0001

Laying the theoretical groundwork for this collection of essays, the introduction examines the convergence of the sacred and social in music as the source for transcendence. In religious experience, sound emerges from the silence in which music is ontologically immanent. Transcendence is possible because of the many forms in which sacred sound is experienced—in the hearing/listening crucial to samāc in Islam, or filling the emptiness of um in Hinduism and Buddhism. For music cultures throughout the world, transcendence unfolds as transition in the sounding of eschatological allegories and the soteriological return that follows life. Sacred music both re-sounds and resounds with transcendence. The volume introduction examines the similarities and differences among the different musical and religious cultures of the subsequent chapters, seeking to elucidate the many ways in which the transcendence afforded by sacred music is common to the ways human beings musically re-sound experiences in their lived-in worlds.

Keywords:   Abrahamic faiths, aesthetics of eschatology, immanence, ontologies of music, sacred music, sacred voice, soteriology, transcendence, transition, world religions

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